Octet Plays Trane obviously
shifts the compositional focus to John Coltrane, but Murrays stylistic
contributions, and those of his bandmates, pump renewed vigor into jazz standards like
"Lazy Bird" and "Naima." In fact, as Murray admitted to liner-note
author Nat Hentoff "I had to get a signature sound before I could embrace someone
like Coltrane...to do this recording, I did not want to just copy him." Wise move on
David partduring the 1970s, many saxists were unable to forge their own voices
after falling under Coltranes powerful spell. Astute listeners may recall
Murrays participation on Blues for Coltrane, a 1988 tribute released by
Impulse Records which paired him with McCoy Tyner for several tunes; note, however, that
Murray did not actually perform on any of the Coltrane compositions.
The most impressive work on the present disc is the octets
reading of "Acknowledgement" (part one of Coltranes monumental A Love
Supreme suite). Its length--over fifteen minutesmay discourage radio airplay,
but it deserves every serious jazz fans attention. Murrays scorching solo
alone, echoing but never imitating the original, is worth the price of this CD. Trombonist
Craig Harris and trumpeter Rasul Saddik also get a chance to stretch out here, often with
strong support from the rest of the muscular horn section. If jazz awards were given for
"most recording sessions," David Murray would be a shoe-in as winner in the baby
boomer division. No doubt the tenor saxophonist has difficulty keeping count of his own
albums; he works in every conceivable context, from solo to big band, from soul-searching
free improvisation to electric down  n dirty funk. Even so, the majority of his fans
would probably agree that he has made his strongest statements in the octet format. Ever
since the incendiary Ming was released in 1980 by Black Saint Records, the Murray
Octet has earned widespread praise for its bold improvising aesthetic as well as its
leaders groundbreaking compositions and arrangements.
Murrays arrangement of "India" demonstrates how much he
has matured since his early attempts to structure music for larger ensembles. James
Spauldings bass flute evokes the mystery and spiritualism of the Asian land as it
weaves its way through Jaribu Shahids arco bass drones, D.D. Jacksons lyrical
piano accents and Mark Johnsons rock-steady hand drum rhythms. Later, Murrays
indigo bass clarinet resonances mingle with trombone and muted trumpets, further flavoring
this enticing sonic curry.
Another bass clarinet feature deserving of mention is Murrays own
piece, "The Crossing." Here, the octet conjures up ecstatic Gospel shouts of the
U.S. South and plays them against the beat of West African dance halls. What does this
have to do with Coltrane? Not much, but it makes for an exuberant 10-minute joyride. And
exuberance is in abundance throughout Octet Plays Trane, a very worthy addition to
David Murrays extensive discography.